Subsequently, glass skyscrapers. If you do not get lost in the left-hand rise, it is possible to notice that a new city is reflecting the past. Monuments are visible in every piece of glass elevation. They look a little bit like elegant old-school gentlemen, which are not showing off too much.
Background: repetitive signboards, modest facades of neighbourhoods, green tea, green coffee and promise of rain.
You are at the end of it all – just a visitor, with a kind invitation to admire the city.
But London is watching you through a one-way mirror.
THE DAILY COLOUR & LIGHT TOUR AROUND THE LATVIAN CAPITAL
I was discovering the city mostly in winter months. Is it worth to visit Riga with cold feet, snow falling into your eyes and a dream about warmth? Definitely yes! Winter and frosty weather emphasizes the charm of the city.
Day
From November Riga was hiding in the sickly light of the foul weather. Early snow was one of the most intense colours. Post-communist zones of concrete were merged into the puddles of smudges. The vision was slowly becoming accustomed to uniformity of tones. Anonymous faces were appearing from the mist like ghosts and passing by in a rush. The elegance of the Latvian women was ignored, bystanders get used to looking down their steps. White-blue facades of the Art Nouveau buildings were hiding behind the curtain of weather – ballerinas waiting for a first dance. The sun was tirelessly trying to break through the clouds while the opaque Daugava was flowing slowly in captivity of ice. The Castle of Light – National Library of Latvia was built on its riverbank.
Sunset. For a moment sunbeams blew up with icy sparks. In an eyewink of time, each water droplet became a prism. For a little while, everything got intense colours back.
Night
Riga by night has a refreshing influence. Maybe because of a contrast between the darkness and artificial light? Glittering snow, creaking under every step. Riga Black Balsam – the herb liquor with a sweet blackcurrant aftertaste warms up as good as traditional garlic bread. Live music with dancing flames of candles. The flow of the people is carrying smells and tastes from the Christmas Market. Red cheeks and noses, hazes of breaths. Moving shadows in the labyrinth of the Riga Old Town. Medieval walls still remember the days of the glory, when the city was one of the biggest Baltic ports. Fireworks’ rosettes on the Day of Independence (18th November) and a crowd near the Freedom Monument. Patriotism and identity, which grew up from the turbulent history, despite the domination of Germany, Poland, Sweden and Russia. An exclusive view from the 26th floor3 on the ostensibly sleeping city. Applause in the National Opera and just after that cacophony of laughter and plink of glasses in bars – priekā1! Every single person was regaining a distinctness.
I liked when the morning sky was blushing as if there was something to be ashamed of after night affairs.
Celebration of the Holy Week in Spain lasts from the Palm Sunday until the Easter Sunday. The tradition of processions2 comes from the 14th century and is popularized especially in Andalucia.
Procession
The procession has a particular order. Black dressed women inaugurate march. Their veils and decorative metal or pearl crests symbolize respect for the death. A guiding cross and silent Nazarenes3 come after them. Their penitential ceremonial with characteristic peaked hoods dates back to the medieval robe of the Inquisition’s convicts. They have particular tasks: Nazarenos de Fila march next to an altar, Nazarenos de Luz carry blessed candles and Penitentes wooden crosses. The old altar on the platform, which represents scenes from Passion. The platform weighs about 200 kg and around 50 men4 are needed to lift it up, who change at every stop. Bearers are invisible, it seems that the altar is moving on its own. A marching band follows the platform and gives rhythm to the march. The procession is followed by Nazarenes. The route is filled with citizens and tourists on streets, balconies, windows … and often in bars.
Contrasts
The Holy Week has impressed me. Mainly because of an omnipresent contrasts. Silent procession and sombre rhythm of drums blend into happy chatter from the bars. Costumes of the Nazarenos are scary, despite intensive colours.Penitents – Spanish beauties – are marching proudly in elegant dresses, but smoking cigarettes around the corner. Incenses are mixing with the smell of food. Crucified Jesus moves with the crowd on sun-drenched streets.The procession plays its role behind the curtain of dignity, anxiety and sublimity. It crosses lively streets in silence and disappears like a phantom. The crowd merges wit it like the Red Sea5. Still, the sound of drums stays inside the head, long after the procession is gone.
THE MELANCHOLIC STREET ART PORTRAITS OF PORTUGUESE
What we think about people from sunny Portugal? Cheerful, easy-going Southerners? However, street art in Portugal portraits their personality in a totally different way. The excerpt from a piece by the Lisbon poet cited below also shows rather melancholic character of Portuguese.
Álvaro de Campos The tobacconist
I am nothing. I shall always be nothing. I can wish to be nothing. That apart, I have in me all the dreams of the world.
There is a word in Portuguese, which cannot be translated directly into any other language – saudade. If you have ever felt simultaneous longing for a past moment and gratefulness for what has happened to you, it was saudade. The feeling was accompanying discoverers who sailed away to look for new worlds. Families waiting for their return. Fado1 musicians from Alfama. Fernando Pessoa2 with his numerous personalities. Returning emigrants from the former colonies, who lost their estates. Victims of Salazar’s3 regime. The Portuguese sun outshines emotions but saudade is written on the urban walls and doors in a very particular way. Therefore street art in Portugal shows a not so obvious influence of history and subtle features of citizens’ characters.
Graffitis’ text translations
Contento-me com pouco, mas desjo muito. A few things are making me content, but I desire a lot.
Abre los olhos. Open your eyes.
O Senhor, filho de Lisboa. Sir, son of Lisbon.
Quando for grande, quero ser feliz. When I grow up, I want to be happy.
Sozinhos vamos rapido, juntos vamos longe. Alone we go fast, together we go far.
If you would like to know more about the architecture of Portugal check out other galleries.
ANNOTATONS:
1A genre of music called Portuguese Blues. 2One of the most prominent Portuguese poets, who used numerous pseudonyms. 3Portuguese statesman, Prime Minister, responsible for the New State (pt.Estado Novo) – an authoritarian government until 1974.
Is it possible that one day can change an urban plan of a whole city? History of Lisbon shows an unusual metamorphosis, which can be seen in still existing districts Alfama and Baixa. The solutions implemented after Great Lisbon Earthquake had a huge impact on the architecture of Portugal.
Alfama
The oldest Lisbon neighborhood is situated on a hill, close to Tagus River. The name came from an occurrence of mineral springs – an Arabic word Al-hamma meaning fountains or baths. But it is not the only one testimony of its origins. It was established by Maurs1 on the slope of the Tagus River. An urban plan was shaped in imitation of an unconquerable maze, which was a characteristic feature of Maghreb2. Narrow, steep streets hindered attacks on the contemporary city centre – citadel Castelo de São Jorge3. However, high-density housing had negative impact on the sanitary and living conditions. That is why, the neighbourhood was inhabited by the poorest people and fishermen. Thanks to the high location, Alfama was the only survivor from the earthquake.
All Saints Day
1st November 1755 9:40 a.m. 3 minutes earthquake 8,7-9 on Richter’s scale 20 meters tsunami wave 5 days of fire 85% of the city destroyed 30,000–40,000 fatalities
Baixa Pombalina4
The reconstruction mission of the representative downtown after the Great Lisbon Earthquake was entrusted to Marquis of Pombal5. With the support of engineers Manuel da Maia, Eugénio dos Santos and Carlos Mardel he created an innovative architectural and urban planning solutions. Everything was designed taking into account sanitary conditions, seismic and fire protection in mind. The urban planning scheme began near the Tagus – with the riverbanks protected by additional embankments. Spacious Praça do Comércio square built in destroyed royal palace’s place, is surrounded by an “U” shaped buildings. An orthogonal net of wide streets starts from the main axis Rua Augusta, marked with a triumphal arch. Another square – Rossio – ends the whole urban scheme.
Earthquake Resistant Architecture
Monumental, classical buildings, except unified architectural detail, had a special construction, which distributes seismic forces – wooden cage structure and pile foundations. Fire protection was provided by tall detaching walls. Moreover, modern sanitary and sewer systems were also added. Usage of prefabricated elements has shortened reconstruction’s time. The Great Lisbon Earthquake brought specific architectural changes, which shaped features of the Pombaline Style. Technical and urban planning solutions became a model for many other cities around the world.
1Moorish domination on the Iberian Peninsula lasted from the8th until the 12th century. 2Region of North Africa created during Arabic expansion in Middle Age. 3The castle was recaptured by Christian forces during Reconquista in the 12th century. 4Today’s district Baixa, partly Baxia-Chiado and Cais do Sodré. 5Actually, Sebastião José de Carvalho e Melo.
WHERE ARE ORIGINS OF THE TRADITIONAL PORTUGUESE CERAMIC TILES?
The cultural variety of Lisbon is visible at first sight – Portuguese, immigrants and travellers from all over the world. Those who decided to stay longer, with time, have started to form an integral unity with the city. Regardless of their nationality. Azulejo the symbol of Lisbon and Portuguese architecture has a similar history.
Beginings of azulejo
Colourful tiles are an inseparable element of the traditional architecture their lineage is totally different. The tails came to Europe (incl. Italy, Spain, Portugal or Netherlands) with Moors. An Arabic word azzelij means ‘little smooth stone’. First come Portuguese mosaics based on Moorish and Spanish techniques. Elements in contrasting colours were laid in geometrical and floral patterns. Dyes were extracted from metal oxides: cobalt (blue), copper (green), manganese (brown and black), iron (yellow), tin (white). However azulejo is not only a decoration. The usage of the ceramic tiles is beneficial also because of sanitary and firefighting aspects.
Great Career of The Small Tiles
The popularity of the tiles increased in 15th century thanks to Italian technique maiolica. Consequently a process of dyeing the glaze faster was developed. Painting repetitive patterns on the huge mosaics-carpets such as azulejo de padrão or azulejo de tapete, lowered productions costs. Renaissance and Baroque brought new techniques of ornamentation. It places importance on decorativeness (e.g. vases, fruits, flowers) and large format scenes painéis historiados. Dutch influence (17th century) contributed to the change of colouring. As a result the tiles were dyed only blue and white, to imitate the Chinese porcelain. As a result, it is considered that the name azulejo refers to Portuguese azul – blue. With time the art of the tiles’ decoration and production have become mastery. In 17th century Portuguese king forbade import of azulejo to support workshops of the local masters such as António Pereira or Manuel dos Santos.
and the city’s reconstruction caused a return to the mass production. Simple, less decorative tiles were placed mainly on the tops of facades or friezes. At the end of the 19th century, Rafael Bordalo Pinheiro opened one of the well-known ceramic tile factories in Caldas da Rainha. Twentieth-century artists such as António Costa or Jorge Colaço were creating monumental scenic visualisations. However, they were not placed only on facades of the buildings but also in the interiors of metro stations. An interesting example of this modern design is Atelier Surrealejos, which is manufacturing surrealistic motifs.
For a while, I became a part of this multicultural mosaic which covers the entire city. I felt like an individual element of a spectacular totality. Perhaps, because of this, it is very hard to leave Lisbon.
Covilhã is a ghost town. The night is falling with all memories and last lights of glory. Surreal, empty streets without the echo of steps. Blind windows of abandoned buildings. You exhale and mist appears … along with ghosts. Do not get me wrong, this hidden, quiet life fascinate me. During the sentimental journey on empty streets, you begin to discover your existence.
The town of wool and snow at the base of Serra da Estrela – the highest mountain range in Portugal. The earthquake (1755) destroyed fortifications from the 12th century. Due to the developing textile industry used to be called the Portuguese Manchester. After the bankruptcy of factories, some buildings were taken over by the University of Beira Interior, but many become abandoned.
Architecture
Little Covilhã shows perfectly my favourite features of the Portuguese architecture. Brightly coloured houses keep simple, geometric shapes regardless of the age. White colour reflects the strong sun more easily. Entire urban planning profits thanks to that practical solution – the town forms consistent unity. Surprising game of levels uses every available land slope. Functions of the buildings are placed without strict rules but in a rational way. A house has day zone on the last floor, connected with the street on the same level. Night zone on lower floors is hidden from the strong sun. Modern and historical architecture coexist next to each other on gentlemanly rules – elegant, without domination. The abandoned buildings stimulate the imagination and became an inspiration for street art artists. This gave rise to the WOOL – Urban Art Festival. Mural and graffiti referring to the place’s identity created an open-air art gallery, hidden among narrow streets.
Why sentimental journey started there?
I was living there for 9 months during my first Erasmus. All shown photographs were taken in this period. Pictured women – my friends – filled emptiness and from little Portuguese town made a metropolis of changes.
ARTISTIC RECAPTURE OF THE STAINED-GLASS WINDOWS ILLUMINATION
Early stained-glass windows and tinctorial techniques were used in ancient Egypt and Rome. However, only the construction and imagery of the gothic cathedrals allowed to use them in a more artistic way. First of all, straining arches enabled to create perforated volumes of temples and bigger openings. Secondly, the gothic style aimed at showing symbols of divine presence and greatness. And ‘God is light, […]’1. The light effects should impress believers. Moreover, stained-glass windows had an educational purpose. Images of religious scenes helped illiterate believers to become acquainted with the content of the Holy Bible, also known as Biblia Pauperum – ‘Paupers’ Bible’.
Colors
The taints are not random. White is a colour of innocence and purity, it pictures God. Red symbolises martyrdom but also love. Violet represents suffering and passion. Yellow, on the one hand, symbolises betrayal but at the same time power and glory. Blue is a colour of heaven, devotion and Marian cult. Green means revival and immortality. At first, colours were created by adding metal oxides into the molten glass. The material was supposed to represent precious stones (including their price). Nowadays glass panels are stained with special colouring, thanks to that mosaics are more colourful and accurate.
Light Creation
In my imagination, the moment in which sun brightens the coloured glass creating a glittery mosaic of light was stunning. Every time, when I was visiting churches, I was waiting anxiously for this moment, when the sun would be in the right position, to see the expected illumination. Unfortunately, I have not been enlightened. However, it is not a surprise if we consider the usual position of churches. Mostly a presbytery2 is oriented east – in direction of Jerusalem. Because of that, stunning rosette and large format stained-glass windows placed on the front and back elevation are illuminated just during two brief moments of the day – sunset and sunrise. The biggest amount of light is entering through the windows on the side walls. Since I was not able to see that passing illumination, I tried to recreate the path of the light.
ANNOTATIONS:
11 John 1:5b 2The main altar, space dedicated for priests and acolytes.
Travelling around Portugal I noticed that many doors have specific detail – hand-shaped door knockers. Firstly, I was thinking that they are just nice, old-fashioned way to welcome the quests. The visitors are able to shake hands even before seeing the host. But after some research, it transpired that this decoration has a deeper meaning and interesting history.
Hamsa
A form of the door knockers refers to Hamsa, known also as Fatima’s Hand. This palm-shaped amulet is present in many different religions, firstly in beliefs of ancient Mesopotamia and Egypt, then in Judaism and Islam. The word Khamsah in Arabic means “five” – number of the fingers in the hand. Hamsa protects against the evil eye, especially families and pregnant woman. That is why the symbol appears commonly not only in jewellery, but also it was used as a home decoration. Moreover, it was a sign that showed the faith of the household. According to another theory, door knockers have male and female hands’ shape. Each of them makes a different sound. Islam considers as inappropriate for a woman to open the door to a man. Consequently, a way of rattling allowed the host to recognize the gender of the guest, so the right person can welcome the visitor.
Why this simbol appears in Portugal?
Hand-shaped door knockers are very popular in European countries, which were under Moorish occupation. Similarly, the presence of Judaism on the Iberian Peninsula is very significant. For instance, in Belmonte2 still exists the Jewish community that can be considered truly Portuguese and survived all turbulence of the history.
One of my photos was chosen as a cover of the book written by historian Francisco Javier Martínez from the University of Évora in Portugal. The publication “Entangled peripheries. New contributions to the history of Portugal and Morocco.” is dedicated to the memory of Polish orientalist Prof. Eva-Maria von Kemnitz. This lucky coincidence makes me even more proud of my little part in this project.
ANNOTATIONS:
1pt. mãos – hand 2Small town in Portugal, 75 km from Castelo Branco.
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